Synopsis

|ENG|

Manifest. Raw, rude, full. I place the pelvic space in the arena as a center of power and taboo, as trauma and place of pleasure and above all as the storyteller. In the movement the demand for freedom, fun, pleasure and pain. Ancestral.It’s a combat but also a speech with many bodies, many centuries, many territories. It’s continuous explosions about the private and the public, about prohibition, about dances, about rituals and occupation of the mainstream culture in the individual body. “Oh my God Becky, look at her butt” and we danced to what the Miami Bass culture was giving us. As a reference of the pain inflicted, the so called “Hottentot Venus” is here, now claiming her power. The feminine and masculine energy inside a woman body, as a space of struggle, reclamation and vulnerability. Wine whenever you feel like. Heal.

|PT|

Manifesto. Cru, rude, cheio. Ponho na arena o espaço pélvico como centro de poder e tabu, como trauma e prazer, como contador da história. No movimento a reivindicação de liberdade, diversão, prazer e dor. Ancestral. É um combate, mas também um discurso com muitos corpos, muitos séculos muitos territórios. São explosões contínuas sobre o privado e o público, sobre a proibição, sobre as danças, sobre o ritual e ocupação do mainstream na linguagem do corpo. “Oh my god Becky, look at her but” e segue na cultura Miami Bass, a dor infligida. Não esquecer a Vénus de Hottentot e tantas mais. O corpo feminino e masculino de mulher, em espaços sociais e políticos de constante luta, poder e tanta vulnerabilidade. Ouvir as letras das músicas com atenção. Rebolar sempre que apetecer. Sentir todo o prazer possível. Curar.

Others talking about it

“Bold and feverish, this solo piece by Anaísa Lopes (a.k.a. Piny) is a trance-inducing examination of the woman’s body focusing on its most sacred and violated core: the pelvic space, as the author puts it. Drilling on historical archetypes of female objectification and sexuality such as Saartjie Baartman (infamously known as the Hottentot Venus) and belly dance icons, HiP. A Pussy Point of View brings us forward towards its YouTube-era reincarnations (the hypersexual female bodies of the hip-hop and other urban music scenes, and most especially Brazilian funk, a very widespread genre in some Portuguese contexts), inviting all sorts of physical, ethological, aesthetic, social and political digressions.

Overall, it is a fascinating, feisty journey into the inner workings of a dancing female body, taken as both an erogenous and a war zone. Either you experience it as an in-yer-face statement on the power of the pelvis, despite all the traumas and aggressions inflicted upon it from time immemorial, or as a contagious, joyful celebration of its infinite possibilities, HiP. A Pussy Point of View is an absolute must-see.”

Inês Nadais for PT. 21, Portuguese Platform of Performing Arts

“Anaísa Lopes, also also known as Piny, is Lisboète. Extremely active on the dance and queer scene in Portugal, she signs her first creation here. Half-naked under chains and jewels that surround her hips, she begins her solo with a long and energetic swaying. 

This buttocks dance, which traditionally serves as a warmup, reveals the choreographer’s encyclopaedic knowledge of the powers of the pelvis. What follows is a combination of obviously sensual dances: twerking, dancehall, traditional dances from Northern Africa and the Middle East, Kizomba, Funaná, Kuduro, Caribbean dances and fitness courses. Piny proudly and uncompromisingly interprets these erotic repertoires and takes on the hyper- sexualisation of the movement, the obsession with form, the bodily policies of patriarchal society and the transgression of what is forbidden. Scandalous and effortless.”

Pays De Danses, Theatre de Liège